Cavett: ONE NIGHT, WE WERE IN TRADER VIC'S
AND WE UNCHARACTERISTICALLY STARTED TALKING ABOUT THE FUTURE.
HE USED THE PHRASE "I HAVE ENDLESS IDEAS FOR MOVIES"
AND I REMEMBER IT FELT LIKE THE EARTH MOVED.
I JUST THOUGHT,
"IT WOULD TAKE ME A YEAR TO HAVE ONE IDEA ABOUT A MOVIE",
AND HE'S ABLE TO THINK OF MAKING ONE OR TWO OR THREE OR... MANY?"
I MIGHT EVEN HAVE THOUGHT, SOMEWHAT CONDESCENDINGLY,
"WELL, HE MAY FIND OUT THAT IT'S NOT ALL THAT EASY."
THIS IS...MY COLLECTION.
THIS IS HOW I'LL START
AND THERE'S ALL KINDS OF SCRAPS AND THINGS
THAT ARE WRITTEN ON HOTEL THINGS
AND I'LL, YOU KNOW, PONDER THESE THINGS.
I'LL PULL THESE OUT AND I'LL DUMP THEM HERE LIKE THIS.
I GOTTA THROUGH THIS ALL THE TIME,
AND...
AND EVERY TIME I START A PROJECT,
AND I SIT HERE LIKE THIS
AND I'LL LOOK AT --
DON'T LIKE THAT.
RIGHT.
NO.
IF HE HAS AN IDEA -- AND HE HAS A LOT OF IDEAS --
IF HE HAS AN IDEA AND HE STARTS TO WRITE IT
AND IT SEEMS LIKE IT'S GOING TO WORK OUT,
THE WRITING OF IT DOESN'T TAKE HIM VERY LONG.
I'VE NEVER SEEN ANYBODY WRITE SO FAST
AND PERHAPS THAT EXPLAINS, TO A LARGE EXTENT,
WHY HE'S MADE SO MANY FILMS.
Maltin: AFTER A PRETTY AMAZING 10-YEAR RUN OF BUILDING GOODWILL
WITH CRITICS AND AUDIENCES ALIKE
AND THEN EXPERIENCING THIS MISFIRE,
AS IT WAS SEEN IN MANY CIRCLES, WITH "STARDUST MEMORIES" --
IT WAS CLEAR THAT HE WAS NOT GONNA BE BOXED IN
TO ANY KIND OF CORNER OR PIGEONHOLE,
HE WAS GONNA DO WHAT HE FELT LIKE DOING,
SO THE QUESTION REMAINED -- "WHAT'S NEXT?"
I WAS GONNA CONTINUE TO MAKE FUNNY FILMS.
I MEAN, I WAS NOT TRYING TO GET AWAY FROM IT --
IN FACT, PROBABLY THE NEXT FILM I MAKE.
I HAVEN'T MADE A REALLY FUNNY FILM FOR A WHILE.
I WOULD LIKE TO TRY THAT AGAIN.
IF "STARDUST MEMORIES" WAS A MISSTEP, THEN
"A MIDSUMMER NIGHT'S SEX COMEDY" WAS A RETURN TO STRENGTH.
HE WAS ACTUALLY GOING BACK TO A KNOWN AREA, WHICH WAS PURE COMEDY.
"A MIDSUMMER NIGHT'S SEX COMEDY" IS THE FIRST FARCE HE'S DONE, REALLY,
SINCE "LOVE AND DEATH."
THE OTHER ASPECT OF "A MIDSUMMER NIGHT'S SEX COMEDY"
IS THAT IT INTRODUCES MIA FARROW TO HIS BODY OF WORK.
YES, WE'VE MET BEFORE.
ARIEL TOLD ME ABOUT YOU.
IT WAS SUCH A FUNNY COINCIDENCE
WHEN LEOPOLD SAID THAT YOU WERE HIS COUSIN'S HUSBAND,
BECAUSE I TOLD HIM WE WERE OLD FRIENDS.
ACQUAINTANCES.
WE'RE LIKE --
Allen: MIA WROTE ME SOME FAN LETTERS OVER THE YEARS.
THEN, ONCE, I HAD A NEW YEAR'S EVE PARTY
AND I SAID, YOU KNOW, "WHY DON'T WE HAVE LUNCH SOMETIME?"
AND SHE SAID, "SURE."
BOY, IF I HAD ONLY ACTED THAT TIME, YOU KNOW,
WHEN WERE AT THE BROOK THAT NIGHT!
- YEAH. - IT JUST HAUNTS ME.
YEAH, ME TOO.
YOU KNOW, NOT A WEEK HAS GONE BY
THAT I HAVEN'T DREAMT ABOUT YOU.
WE MADE A DATE, WE HAD LUNCH, AND THEN WE STARTED GOING OUT.
HEY, ARE YOU OKAY?
Allen: EVENTUALLY, WE STARTED GOING OUT IN A MORE SERIOUS WAY.
AND THEN, I GOT TO KNOW HER AS AN ACTRESS.
WELL, YOU KNOW, FOR A WOMAN,
THE YEARS SLIP AWAY QUICKLY.
DON'T TELL ME YOU'RE GETTING SCARED.
MAYBE.
BUT WHY? I DON'T UNDERSTAND.
YOU'RE SO BEAUTIFUL AND CHARMING.
YOU COULD GET ANY MAN THAT YOU WANTED.
NOT YOU.
ME?
I THINK, AMONGST ALL THE LOVE AFFAIRS
I WAS RUNNING THROUGH IN THOSE DAYS,
YOU WERE THE ONE PERSON THAT COULD'VE STOPPED ME.
Feeney: MIA FARROW BECAME HIS MUSE
AND HE BEGAN TO SHOW US A RANGE IN MIA FARROW
THAT HAD BEEN DENIED US BY, SAY,
"ROSEMARY'S BABY" OR "HURRICANE," YOU KNOW,
JUST SIDES OF HER WE WERE NOT BE ABLE TO SEE,
AND WOODY ALLEN WAS ABLE TO BRING HER OUT
IN ALL HER RAINBOW OF COLORS.
AND THROUGH HER,
HE EXPLORED A NUMBER OF WONDERFUL MODES OF FILMMAKING.
SHE WAS AN EXCELLENT ACTRESS WITH A VERY BIG RANGE.
YOU KNOW, SHE COULD PLAY COMEDY AND BROAD COMEDY,
SHE COULD PLAY SERIOUS THINGS,
AND I FELT...
NO ONE HAD REALLY EXPLOITED HER MUCH ON THE SCREEN
AND SO I WROTE ROLES FOR HER AND SHE NEVER DISAPPOINTED,
SHE ALWAYS CAME THOUGH AND DID A TERRIFIC JOB FOR ME.
JOHNNY'S ALL RIGHT -- HE WAS REALLY NICE TO ME
WHEN MY MARRIAGE FELL APART.
YES? AND WHAT DID YOUR HUSBAND DO?
UM, A LITTLE BOOKMAKING,
SOME LOAN SHARKING, EXTORTION, LIKE THAT.
SO HE'S A PROFESSIONAL MAN.
WHAT DID YOU DO?
YOU DIVORCED HIM OR YOU GOT A SEPARATION, OR WHAT?
UNH-UNH, SOME GUY SHOT HIM IN THE EYES.
- REALLY, HE'S BLIND? - DEAD.
HE'S DEAD, OF COURSE, BECAUSE THE BULLETS GO RIGHT THROUGH.
Maltin: BY THIS TIME, IF YOU WERE FOLLOWING WOODY,
YOU NEVER KNEW WHAT WAS GOING TO COME NEXT,
WHAT TONE IT WOULD TAKE, WHAT SHAPE IT WOULD TAKE.
AND WHO WOULD THINK THAT THE SAME MAN WHO MADE "BROADWAY DANNY ROSE"
WOULD ALSO GIVE US "ZELIG"?
Narrator: LEONARD ZELIG CONTINUES TO ASTOUND SCIENTISTS
AT NEW YORK'S MANHATTAN HOSPITAL,
WHERE NUMEROUS TESTS HAVE LED NOWHERE
IN DETERMINING THE NATURE OF THIS ASTONISHING MANIFESTATION.
I WANTED TO DO IT LIKE A REAL, ACTUAL DOCUMENTARY,
WHERE YOU JUST ABOUT COULDN'T TELL THE DIFFERENCE.
HIS TRANSFORMATION INTO A RABBI IS SO REALISTIC
THAT CERTAIN FRENCHMEN SUGGEST HE BE SENT TO DEVIL'S ISLAND.
AND I THOUGHT THE THEME OF THE CHARACTER
WHO WAS ALWAYS TRYING TO BE WHO HE WAS AROUND
WAS A UNIVERSAL PSYCHOLOGICAL THEME.
AS THE MEN DISCUSS THEIR OBESITY,
AN INITIALLY RETICENT ZELIG JOINS IN,
SWELLING HIMSELF TO A MIRACULOUS 250 POUNDS.
NEXT, IN THE PRESENCE OF TWO NEGRO MEN,
ZELIG RAPIDLY BECOMES ONE HIMSELF.
WHAT WILL THEY THINK OF NEXT?
Lauder: I LIKE "PURPLE ROSE OF CAIRO" VERY MUCH.
THE MIA FARROW CHARACTER HAS A TERRIBLE EXISTENCE.
HER HUSBAND, DANNY AIELLO, IS AN ABUSER.
THE ONLY RELIEF SHE GETS IS MOVIES,
SO SHE GOES TO SEE THE SAME MOVIE OVER AND OVER AGAIN.
SHE CAN'T FIND ANY MEANING IN HER DAY-TO-DAY EXISTENCE,
BUT THE ESCAPISM THAT MOVIES PROVIDE IS THE ONLY MEANING,
OKAY, THAT'S IT, BUT AT LEAST SHE HAS THIS.
THIS IS SOMETHING THAT ENCOURAGES HER TO HOPE.
THINGS ARE BAD, BUT MAYBE IT'S GONNA TURN OUT OKAY.
I THINK THAT'S SUCH A CLEVER FILM.
I INTENDED IT...
...YOU KNOW, ON A MUCH MORE PRETENTIOUS, DEEP LEVEL, YOU KNOW,
THAT PEOPLE ARE FACED IN LIFE,
WITH CHOOSING BETWEEN REALITY AND FANTASY
AND IT'S VERY PLEASANT TO CHOOSE FANTASY,
BUT THAT WAY LIES MADNESS
AND YOU'RE FORCED, FINALLY, TO CHOOSE REALITY
AND REALITY ALWAYS DISAPPOINTS, ALWAYS HURTS YOU.
YOU KNOW, THAT WAS WHAT MADE ME DO THE FILM
AND, OF COURSE, THE IDEA THAT SOMEONE COMES OFF THE SCREEN,
THAT WAS THE GIMMICK.
YOU KNOW, I STILL CAN'T GET OVER THE FACT THAT,
24 HOURS AGO, I WAS IN AN EGYPTIAN TOMB.
I DIDN'T KNOW ANY OF YOU WONDERFUL PEOPLE,
AND HERE I AM NOW,
I'M ON THE VERGE OF A MADCAP MANHATTAN WEEKEND.
MY GOD, YOU MUST REALLY LOVE THIS PICTURE.
ME?
YOU'VE BEEN HERE ALL DAY AND I'VE SEEN YOU HERE TWICE BEFORE.
YOU MEAN ME?
YES, YOU, YOU!
THIS IS THE FIFTH TIME YOU'RE SEEING THIS.
Henry, come here, quickly.
I GOTTA SPEAK TO YOU.
Man: OH, MY GOD!
AAH!
LISTEN, OLD SPORT, YOU'RE ON THE WRONG SIDE.
Rita: TOM, GET BACK HERE!
- WE'RE IN THE MIDDLE OF THE STORY! - LEAVE ME ALONE.
I'M GONNA HAVE A LOOK AROUND. YOU GO ON WITHOUT ME.
WHO ARE YOU?
C-CECILIA.
LET'S GET OUT OF HERE AND GO SOMEWHERE WE CAN TALK.
BUT...YOU'RE IN THE MOVIE.
WRONG, CECILIA, I'M FREE!
Allen: I USED TO ALWAYS WRITE FROM THE POINT OF VIEW OF THE MALE
AND ALWAYS A PARTICULAR PERSPECTIVE,
THE COMIC MALE, THE WISECRACKING COMIC MALE,
AND THEN I MET DIANE KEATON,
I GOT A DIFFERENT PERSPECTIVE,
I SAW A LOT OF THINGS THROUGH HER EYES
AND I STARTED WRITING FOR WOMEN.
AND ONE OF THE THINGS THAT I GAINED WAS A FEMALE'S PERSPECTIVE
AND IT WAS, EVENTUALLY, MORE INTERESTING TO ME THAN THE MALE PERSPECTIVE
AND I ATTRIBUTE THAT TO MY EXPERIENCE WITH HER.
Hannah: HOLLY, - I JUST WANT A SALAD.
- YOU REALLY THINK I'M A LOSER, DON'T YOU?
WHAT DO...YOU'RE BEING RIDICULOUS.
Lee: YOU ARE, HOLLY. STOP IT.
YOU TREAT ME LIKE A LOSER.
HOW?
YOU NEVER HAVE ANY FAITH IN MY PLANS,
YOU ALWAYS UNDERCUT MY ENTHUSIASM.
NOT SO, NO,
I THINK I'VE BEEN VERY SUPPORTIVE.
I TRY TO GIVE YOU HONEST, CONSTRUCTIVE ADVICE,
I'M ALWAYS HAPPY TO HELP YOU FINANCIALLY,
I THINK I'VE GONE OUT OF MY WAY
TO INTRODUCE YOU TO INTERESTING SINGLE MEN.
Holly: LOSERS! ALL LOSERS.
YOU'RE TOO DEMANDING!
YOU KNOW, I COULD ALWAYS TELL WHAT YOU THOUGHT OF ME
BY THE TYPE OF MEN YOU FIXED ME UP WITH.
YOU'RE CRAZY! THAT'S NOT TRUE!
HEY, HANNAH, I KNOW I'M MEDIOCRE.
OH, WILL YOU STOP ATTACKING HANNAH?
SHE'S GOING THROUGH A REALLY ROUGH TIME RIGHT NOW.
WHY ARE YOU SO UPSET?
YOU KNOW, YOU'VE BEEN PICKING ON HER
EVER SINCE SHE CAME IN HERE.
NOW JUST LEAVE HER ALONE FOR A WHILE.
I'M JUST SUFFOCATING.
Feeney: I THINK "HANNAH AND HER SISTERS"
IS THE MOVIE THAT PEOPLE EXPECTED AFTER "MANHATTAN"
AND WHEN HE SATISFIED THAT,
HE WAS BACK TO EVEN DEEPER STRENGTH THAN HE EVER WAS BEFORE
EARLY ON IN THE FILM, THERE'S SOME SUSPICION HE HAS A BRAIN TUMOR.
IT'S OVER.
I'M FACE-TO-FACE WITH ETERNITY.
NOT LATER, BUT NOW.
I'M SO FRIGHTENED, I CAN'T MOVE
OR SPEAK OR BREATHE.
WELL, YOU'RE JUST FINE.
THERE'S ABSOLUTELY NOTHING HERE AT ALL.
AND, FINALLY, HE FINDS OUT HE'S OKAY
AND HE COMES OUT OF THE HOSPITAL
AND HE'S JUMPING THROUGH THE STREET
AND THEN HE STOPS AND HE REALIZES THAT, YOU KNOW,
"I'M NOT GOING TO DIE FROM THIS BRAIN TUMOR NOW,
BUT I'M GOING TO DIE SOMEDAY"
AND THEN, HE GOES BACK INTO A BLUE FUNK.
AND THEN HE BEGINS TO LOOK AROUND AT DIFFERENT RELIGIONS
AND HE'S THINKING OF BECOMING A CATHOLIC,
SO HE GOES TO SEE A PRIEST, THE PRIEST GIVES HIM SOME BOOKS.
AND THEN WE GET A SCENE, HE'S AT A HIGH MASS.
HE'S WAY IN THE BACK, HE'S THE OUTSIDER LOOKING IN,
THE NONBELIEVER LOOKING IN.
THE CHARACTER WANTS TO BELIEVE, BUT HE JUST CAN'T.
MOM, COME OUT!
OF COURSE THERE'S A GOD, YOU IDIOT.
YOU DON'T BELIEVE IN GOD?
BUT IF THERE'S A GOD,
THEN WHY IS THERE SO MUCH EVIL IN THE WORLD?
JUST ON A SIMPLISTIC LEVEL. WHY WERE THERE NAZIS?
TELL HIM, MAX.
HOW THE HELL DO I KNOW WHY THERE WERE NAZIS?
WOODY HAD SAID, YOU KNOW, MAKING A FILM PREOCCUPIES HIM
AND SO HE DOESN'T HAVE TO SPEND THE WHOLE DAY
THINKING ABOUT THE MEANING OF EXISTENCE,
BUT HE SPENDS THE DAY MAKING A FILM
ABOUT THE MEANING OF EXISTENCE.
SO IT DOESN'T DISTRACT HIM, IN THE USUAL SENSE,
I MEAN, HE'S NOT OUT, PLAYING GOLF OR PLAYING TENNIS,
HE'S WORKING THESE THEMES INTO HIS FILMS.
THIS WOMAN'S GOING TO DESTROY
EVERYTHING I'VE BUILT.
THAT'S WHAT I'M SAYING, JUDAH.
IF THE WOMAN WON'T LISTEN TO REASON,
THEN YOU GO ON TO THE NEXT STEP.
WHAT, THREATS, VIOLENCE?
WHAT ARE WE TALKING ABOUT, HERE?
SHE CAN BE GOTTEN RID OF.
I MEAN, I KNOW A LOT OF PEOPLE.
MONEY'LL BUY WHATEVER'S NECESSARY.
I'M NOT EVEN GOING TO COMMENT ON THAT.
THAT'S MINDBOGGLING.
JUDAH ROSENTHAL, THE CHARACTER I PLAYED
IN "CRIMES AND MISDEMEANORS," IS A PILLAR OF THE COMMUNITY,
HE'S GOT A FAMILY, HE'S RESPECTED,
BUT HE HAS AN AFFAIR
WITH THIS STEWARDESS
PLAYED BY ANJELICA HUSTON
AND SHE BECOMES A LOOSE CANNON IN HIS LIFE.
YOU TOLD ME, OVER AND OVER AGAIN,
YOU'D LEAVE MIRIAM! WE MADE PLANS!
I DIDN'T! YOU DID!
I GAVE UP THINGS FOR YOU, BUSINESS OPPORTUNITIES!
OH, PIPE DREAMS!
HE DOESN'T KNOW HOW TO HANDLE IT
AND HE CALLS HIS BROTHER,
WHO'S A LITTLE ON THE SHADY SIDE,
AND HE RESOLVES IT
IN A WAY THAT IS HORRENDOUS, REALLY.
WHEN I SEE HER,
I'M OVERWHELMED BY IT.
HE HAS A GREAT DEAL OF DIFFICULTY LIVING WITH IT
WOODY WALKS A REAL TIGHTROPE IN "CRIMES AND MISDEMEANORS,"
BECAUSE HE'S TELLING, ESSENTIALLY,
A VERY SERIOUS STORY,
YET HE KNOWS TO COUNTERBALANCE IT WITH A LIGHTER STORY,
INVOLVING HIM AND MIA FARROW AND ALAN ALDA.
AND IT'S THAT VERY DEFT COMBINATION
THAT MAKES THE MOVIE WORK.
IT'S AMAZING -- I COULDN'T GRADUATE
AND THE SAME SCHOOL NOW TEACHES A COURSE
IN EXISTENTIAL MOTIFS IN MY SITUATION COMEDIES.
Halley: REALLY?
YEAH.
I COULD'VE DONE THE WHOLE PICTURE
JUST AS THE MURDER STORY
AND VERY OFTEN REGRETTED THAT I DIDN'T
BECAUSE I FOUND MARTY LANDAU'S STORY SO COMPELLING
AND SO INTERESTING AND MINE SO UNINTERESTING.
AND THEN IT OCCURRED TO ME THAT,
IF MY CHARACTER MADE THE FILM ABOUT ALAN ALDA,
IT TIED THE WHOLE THING UP BECAUSE IT WAS A FUNNY IDEA,
THAT I WAS FORCED TO MAKE THIS AGGRANDIZING DOCUMENTARY
ABOUT THIS GUY THAT I COULDN'T STAND.
THE THING TO REMEMBER ABOUT COMEDY IS
IF IT BENDS, IT'S FUNNY;
IF IT BREAKS, IT'S NOT FUNNY.
SO YOU GOT TO GET BACK FROM THE PAIN, YOU SEE WHAT I MEAN?
ISSUES OF WHAT LIFE IS ABOUT AND WHY WE'RE HERE
AND WHY IT'S SO PAINFUL
AND RELATIONSHIPS BETWEEN THE HUMAN BEING
AND HIS EXISTENCE AND HUMAN LONELINESS,
THAT NEVER GETS RESOLVED
AND SO IT'S OF CONSTANT INTEREST TO ME.
HI, CLIFF. CLIFF! HELLO.
Allen: AND I CAN SEE, IF I LOOK BACK ON MY WORK,
I SEE SOME OF THOSE THEMES CREEP IN ALL THE TIME.
I WANTED TO GIVE YOU THIS LETTER BACK.
IT'S MY ONE LOVE LETTER.
I'M CURSED WITH THE CLOWN'S APPROACH TO IT
AND I ALWAYS HAVE TO APPROACH IT IN A COMIC WAY.
I PLAGIARIZED MOST OF IT FROM JAMES JOYCE.
YOU PROBABLY WONDERED
WHY ALL THE REFERENCES TO DUBLIN.
I WISH I HAD BEEN BORN
A GIFTED AND GREAT TRAGEDIAN, BUT I WASN'T.
WHAT ARE YOUR VIEWS ON DIVINE MATTERS?
EXCUSE ME, ME?
I'M ASKING YOU IF YOU BELIEVE IN GOD.
IT'S INCREDIBLE, THAT'S THE THIRD TIME TONIGHT
SOMEBODY ASKED ME THAT EXACT SAME QUESTION.
YOU KNOW, I WOULD LOVE TO,
BELIEVE ME, I KNOW I WOULD BE MUCH HAPPIER.
YEAH, BUT YOU CAN'T.
I CAN'T, NO, IT'S JUST, YOU KNOW --
YOU DOUBT HIS EXISTENCE AND YOU CAN'T MAKE
THE LEAP OF FAITH NECESSARY.
LISTEN, I CAN'T MAKE THE LEAP OF FAITH NECESSARY
TO BELIEVE IN MY OWN EXISTENCE.
Woman: HERE'S YOUR DRINK, KLEINMAN.
THAT'S FINE, THAT'S TRICKY.
YOU KEEP MAKING JOKES UNTIL THE MOMENT COMES
AND YOU'VE REALLY GOT TO FACE DEATH.
WHY ARE YOU ALWAYS ON SUCH A MORBID SUBJECT?
I JUST, YOU KNOW, THAT'S THE FUTURE.
Woman: IF I THOUGHT THAT THERE WAS NOTHING
EXCEPT THIS, I'D KILL MYSELF.
I'VE THOUGHT OF IT.
BELIEVE ME, THERE HAVE BEEN MANY TIMES
WHEN MY BRAIN HAS SAID "WHY NOT?"
I MEAN, THERE'S NO POINT TO ANYTHING.
BUT, SOMEHOW, MY BLOOD ALWAYS SAID "LIVE, LIVE,"
AND I ALWAYS LISTEN TO MY BLOOD.
Cusack: WOODY ALLEN,
HE'S ALWAYS SWIMMING AROUND THE SAME PHILOSOPHICAL ISSUES.
THERE'S STILL THAT THING YOU CAN DO WITH HIS FILMS
WHERE THEY'LL GET YOU THINKING AND TALKING
OR THEY'LL SPUR SOMETHING IN YOU THAT,
YOU KNOW, IT'S GOOD MEDICINE.
I THINK THAT WOODY ALLEN ASKS THESE IMPORTANT QUESTIONS,
"IS THERE A GOD? ISN'T THERE A GOD?
IS THERE LIFE BEYOND THE GRAVE?"
MAKES HIM UNIQUE AMONG CONTEMPORARY FILMMAKERS,
BUT ALSO MAKES HIM UNIQUE
IN THE HISTORY OF AMERICAN CINEMA.
THESE ARE THE TWO KEY QUESTIONS
AND HE JUST KEEPS HAMMERING AWAY AT THEM.
YOU KNOW WHO HAS THESE THOUGHTS ALL THE TIME?
IS SCHULTZ THE TAILOR.
HE THINKS THAT NOTHING IS REAL AT ALL
AND THAT EVERYTHING EXISTS ONLY
IN THE DREAM OF A DOG.
BUT THIS IS REAL, ISN'T IT?
AND BEAUTIFUL.
Lax: SO WOODY AND MIA HAD THIS KIND OF IDYLLIC LIFE --
CERTAINLY, IN THE PUBLIC MIND.
HERE WERE TWO ACCOMPLISHED ARTISTS,
THEY HAD THIS STRANGE RELATIONSHIP
WHERE HE LIVED IN HIS PLACE, SHE LIVED IN HER PLACE,
BUT SHE WAS IN ALL HIS MOVIES AND HE WAS THERE EVERY DAY
AND THEN THEY ADOPTED A DAUGHTER AND THEN THEY HAD A SON
AND IT SEEMED KIND OF THE PERFECT THING.
YOU KNOW, THEY'D TALK ABOUT HOW THEY COULD EACH GO
OUT THEIR WINDOWS OR THEIR BALCONIES
AND WAVE AT EACH OTHER ACROSS THE PARK
AND THIS CAME TO A CRASHING END
DURING THE FILMING OF "HUSBANDS AND WIVES."
THINGS FELL APART AT THE VERY END OF THE SHOOTING.
REALLY, THERE MAY HAVE BEEN TWO OR THREE DAYS LEFT OF SHOOTING.
SHE MUST HAVE CALLED HIM
AND I REMEMBER HIM ANSWERING THE PHONE
BECAUSE WE WERE, LIKE, WAITING FOR HIM TO SHOOT THE SEQUENCE
AND I COULD TELL SOMETHING DISTURBING WAS HAPPENING
ON THE OTHER END OF THIS PHONE CALL.
MIA DISCOVERED THAT WOODY WAS HAVING THIS AFFAIR
WITH ONE OF HER ADOPTED KIDS.
MIA HAD GONE OVER TO WOODY'S APARTMENT FOR SOMETHING AND,
ON A MANTELPIECE IN A ROOM,
DISCOVERED SOME NUDE POLAROIDS OF HER ADOPTED DAUGHTER SOON-YI.
IT TOOK ME
TWO OR THREE DAYS TO CONVINCE MIA
TO COME BACK TO WORK AND FINISH THE FILM
BECAUSE HER REACTION WAS "THERE'S ABSOLUTELY NO WAY
I COULD SEE THIS PERSON ANYMORE."
AND, YET, THEY HAD TO, IN THE MIDST
OF THIS TERRIBLE EMOTIONAL THING FOR BOTH OF THEM,
BEHAVE IN A PROFESSIONAL MANNER TO FINISH THE WORK.
SO SHE, LIKE A TROOPER,
CAME AND FINISHED HER JOB.
WE WERE GOING TO THE FACULTY DINNER --
AND I'LL NEVER FORGET THIS --
AROUND FIFTH AVENUE AND IT WAS JUST
AN ICY BLACK NIGHT, WE WERE WALKING DOWNTOWN.
REMEMBER THAT? AND THEN, SUDDENLY,
WE DECIDED NOT TO GO TO THE DINNER,
JUST SAID, "THE HELL WITH IT."
IT WAS JUST SUCH A BEAUTIFUL NIGHT.
WE WALKED INTO CENTRAL PARK.
IT WAS, YOU KNOW, SO SNOWY THAT NIGHT.
I REMEMBER HOW COLD IT WAS.
WE COULD SEE EVERY STAR.
YOU WERE SO BEAUTIFUL IN THAT BLACK DRESS.
REALLY -- MMM.
DON'T DO THAT.
WHY NOT?
BECAUSE IT'S OVER AND WE BOTH KNOW IT.
Brickman: WHEN THE GREAT COSMIC RIFT OCCURRED,
YOU KNOW, ACROSS THE PARK
WOODY WAS THE ANTICHRIST
ON THE FRONT PAGE OF THE NEW YORK POST EVERY DAY.
Lax: THEIR LIFE BLEW UP AND THIS JUST BECAME FODDER
FOR THE GOSSIP MAGAZINES
AND FOR TELEVISION AND FOR NEWSPAPERS.
Lax: AND WHEN IT BECAME A CUSTODY BATTLE BETWEEN THEM,
IT WAS ALMOST LURID, IN THE WAY THAT IT WAS HANDLED.
THERE WAS NOTHING TOO SMALL THAT WASN'T SCOOPED UP.
A JUDGE HAS REFUSED WOODY ALLEN'S REQUEST
FOR CUSTODY OF HIS THREE CHILDREN --
ONE BIOLOGICAL, TWO ADOPTED.
EVERYBODY HAD AN OPINION ABOUT MY PRIVATE LIFE,
WHICH I FELT THEY WERE ALL FREE TO HAVE
AND FREE TO RESPOND IN ANY WAY THAT MADE THEM HAPPY.
THEY COULD SYMPATHIZE WITH ME, NOT SYMPATHIZE WITH ME;
THEY COULD DISLIKE ME, THEY COULD LIKE ME;
THEY COULD, YOU KNOW --
IT COULD HAVE NO EFFECT ON WHETHER THEY SAW MY FILMS,
THEY COULD NEVER SEE MY FILMS AGAIN.
NONE OF THAT MATTERED TO ME.
I REALLY, AT THE TIME, THOUGHT,
"OH, MY GOD, IS THIS REALLY THE RUINATION OF WOODY?"
BUT, YOU KNOW,
HE WAS ABLE TO CONTINUE HIS WORK AND HIS CAREER,
WHICH, TO ME, IS THE MAIN THING.
WHEN WE WERE WRITING "BULLETS OVER BROADWAY,"
THE CUSTODY TRIAL WAS ABOUT TO HAPPEN
AND SO THERE WERE, OF NECESSITY,
A LOT OF INTERRUPTIONS IN OUR WORK.
WE'D BE TALKING THROUGH THE SCENES,
AS WE WOULD DO WITH EACH OTHER,
AND THEN THE PHONE WOULD RING AND HE'D SAY,
"OH, EXCUSE ME, I GOT TO TAKE THIS" AND THEN HE'D GO OVER
AND YOU WOULD HEAR A VERY HUSHED "HELLO," YOU'D HEAR, YOU KNOW,
"DETECTIVE" AND MAYBE "GET A SAMPLE."
YOU KNOW, YOU'D HEAR KIND OF HAIR-RAISING PHRASES
AND THEN HE'D HANG UP AND HE'D COME BACK AND HE'D GO,
[ Snaps fingers ] "OKAY, LET'S GO BACK TO WORK."
I JUST REMEMBER THIS ONE DAY, WE HAD BEEN INTERRUPTED
THREE TIMES AND, AFTER THE THIRD TIME,
WHEN THERE'D BEEN SOME OTHER GRISLY EXCHANGE ON THE PHONE,
HE CAME BACK AND HE LOOKED AT ME AND HE GOES,
"OKAY, BACK TO WORK ON OUR LITTLE COMIC BAUBLE."
WE GOT THE MONEY! WE CAN DO THE PLAY!
WHAT?! WHEN?! HOW?!
A SINGLE BACKER GOING FOR THE WHOLE SHOW.
AND NO HITCHES?
WELL, UH...
WE'LL MEET TOMORROW AND DISCUSS IT, ALL RIGHT?
"BULLETS OVER BROADWAY" IS JUST --
I JUST THINK IT'S A WONDERFUL MOVIE.
I MEAN, YOU KNOW WHAT THEY SAY,
"WRITE ABOUT WHAT YOU KNOW" -- WELL.
IT MUST BE DIFFICULT, GETTING A WORK LIKE THIS ON.
IT'S A SAD REALITY OF THE MARKETPLACE,
I'LL TELL YOU.
WE'VE NEVER REALLY HAD A CHANCE TO TALK.
NO. HI, FOLKS. WHAT CAN I GET YOU?
TWO MARTINIS, PLEASE, VERY DRY.
HOW'D YOU KNOW WHAT I DRANK?
OH, YOU WANT ONE, TOO? THREE.
McGrath: WE SPOKE A LOT BY PHONE WHEN HE WAS MAKING "BULLETS"
AND SO I'D SAY, "HOW'S THE MOVIE GOING?"
AND HE'D SAY, "EVERYTHING'S GOING GREAT,"
BUT, AT FIRST, DIANNE WIEST,
WHOM I HAD FELT, RIGHT FROM THE BEGINNING,
WAS WRONG FOR THAT PART -- AND HAD NO TROUBLE TELLING HIM.
I KEPT SAYING, "DIANNE WIEST FOR THAT VAIN, HAMMY ACTRESS?"
BECAUSE YOU KNOW,
SHE'S SO SWEET AND VULNERABLE AND, YOU KNOW,
IT SEEMED SO NOT LIKE DIANNE WIEST.
AND HE KEPT SAYING,
"NO, SHE HAS TO DO IT. SHE CAN DO ANYTHING."
SO I THOUGHT, "OKAY, GO AHEAD, SINK YOUR OWN PICTURE,
AND I SAID, "YOU'VE GOT TO PICK UP THE PHONE
"AND YOU'VE GOT TO FIND SOMEBODY WHO CAN DO THIS.
IT'S NOT ME. YOU'VE GOT TO REPLACE ME."
HE SAID, "NO, NO, NO, NO.
THERE'S SOMETHING WE CAN DO. THERE'S SOMETHING."
WHEN I WAS TALKING TO HER, SHE WAS CONVINCED
SHE WAS GOING TO GET FIRED.
AND WITH THE FIRST COUPLE THINGS WE RESHOT,
SHE DIDN'T HAVE THAT DEEP BARITONE VOICE
AND I THINK SHE WAS SORT OF FINDING THAT.
OR THEY WERE FINDING IT TOGETHER.
WITHOUT MY OWN VOICE, I WAS FREE TO DO
THIS MAD, CRAZY, YOU KNOW, PSYCHOTIC WOMAN.
HELEN, HAVE YOU THOUGHT ABOUT WHAT I SAID BEFORE,
ABOUT THE WAY I FEEL? Don't speak.
BUT I WANT TO EXPRESS --
Don't speak, don't.
THERE'S JUST A FEW THINGS THAT I WANT TO TELL YOU --
DON'T SPEAK, NO, NO.
WHEN WE FIRST MET, I WAS THINKING --
DON'T SPEAK. PLEASE, DON'T SPEAK, PLEASE.
DON'T SPEAK! NO! NO, NO, NO!
GO, GO, GENTLE SCORPIO, GO!
YOUR PISCES WISHES YOU EVERY HAPPY RETURN.
JUST ONE --
DON'T SPEAK!
SHE COULDN'T BELIEVE THAT I WANTED HER
TO PLAY IT SO BROADLY,
AND I DID, I WANTED HER TO PLAY IT
LIKE NORMA DESMOND, JUST AS BROAD AS COULD BE.
SHE WENT STRAIGHT FROM THERE TO HER,
I THINK, SECOND ACADEMY AWARD.
Lax: AND SO IT'S ODD --
HE'S A DIRECTOR WHOSE ACTORS GET
TREMENDOUS NUMBERS OF AWARDS OR NOMINATIONS FOR AWARDS,
BUT IF YOU WATCH HIM ON THE SET,
HE'S THE LEAST DIRECTIVE DIRECTOR YOU CAN IMAGINE.
I LOVE HIS DIRECTING STYLE BECAUSE, HONESTLY,
A DIRECTOR WHO HAS CONFIDENCE IN HIS ACTORS
AND WHO DOESN'T TRY AND MUSCLE THEM AROUND THE SET,
ALLOWS THEM TO BLOSSOM AND MAKES THEM TAKE
THE RESPONSIBILITY FOR THEIR PERFORMANCE.
SEE, THE THING IS, IF YOU'RE WITH SOMEBODY WHO SAYS,
"IT'S ALL YOU NOW, GO," IT REALLY THEN
PUTS THE BALL IN YOUR COURT, YOU GOT TO COME WITH THE GOODS.
AND YOU NEVER THOUGHT OF JUST GETTING A REGULAR JOB?
WELL, YEAH, SURE I DID. NO, I DID THINGS.
I WAITED ON TABLES, I WORKED
IN A MASSAGE PARLOR, I DID PHONE SEX.
NOW AND THEN, I WOULD, YOU KNOW,
TURN A FEW TRICKS
IN ORDER TO MAKE SOME DOUGH.
AND ONE DAY, MY FRIEND SUZIE CALLS ME
AND SHE ASKS ME IF I WANT TO BE IN A FILM,
SOMETHING CALLED "SNATCH HAPPY,"
AND I SAID SURE AND I REMEMBER
I WAS VERY NERVOUS BECAUSE I'D NEVER DONE IT
IN FRONT OF PEOPLE WITH A CAMERA BEFORE,
YOU KNOW, AND SO, THERE I AM ON THE FIRST DAY,
ON THE SET, AND THERE'S THIS GUY
FUCKING ME FROM BEHIND, RIGHT?
AND THERE'S THESE TWO HUGE GUYS DRESSED LIKE COPS
IN MY MOUTH AT THE SAME TIME
AND I REMEMBER THINKING TO MYSELF,
"I LIKE ACTING. I WANT TO STUDY."
I NEVER EXPECTED TO WIN THE OSCAR, NEVER.
AND I WAS, LIKE, PREPARING TO BE HAPPY
FOR WHOMEVER'S NAME THEY CALLED,
AND THEN THEY CALLED MINE.
I THINK THE SECRET IS
THAT EVERYBODY WANTS TO WORK FOR HIM SO BADLY
THAT THEY KNOW THEY HAVE TO DO THEIR BEST
AND I THINK THEY BRING THEIR VERY BEST
TO THE SET EVERY DAY ON A WOODY ALLEN FILM.
THEY DON'T WANT TO DISAPPOINT.
Allen: WE GAVE SEAN GUITAR LESSONS.
SIX MONTHS BEFORE THE MOVIE,
WE SENT A GUITAR -- WE PAID FOR A GUITAR TEACHER
TO GO OVER TO EUROPE AND STAY WITH HIM.
SO, I DIDN'T HAVE TO, YOU KNOW, DO ONE OF THOSE SHOTS
WHERE YOU ALWAYS HAD TO CUT AWAY TO SOMEONE ELSE'S HAND.
THAT WAS SEAN.
Penn: HE DIDN'T ASK TO SEE OR KNOW ANYTHING
UNTIL HE ROLLED THE CAMERA.
HIS FEELING IS THAT THE BEST, COMPLETE THING HE'S GOING TO GET
IS GOING TO COME OUT OF THE ACTOR'S INSTINCT
AND THAT WHAT HE FINDS OUT ON DAY ONE IS
WHETHER OR NOT HE CAST IT WELL.
I NEVER ONCE REGRETTED -- NOT ONE TIME
DID I EVER REGRET DUMPING A BEAUTIFUL DAME.
BECAUSE YOU GOT TO KEEP YOUR GUARD UP.
YOU DON'T, THEM PRETTY ONES
GET THEIR WORMS IN YOU
AND THEN IT'S OVER, YOU'RE DONE.
PARTICULARLY IF YOU'RE AN ARTIST.
NAH, I'VE SEEN TOO MANY GUYS CRYING IN THEIR BEER.
ME? I'M GOING TO BE A STAR.
Penn: AFTER THE "CUT" WAS CALLED,
I LOOKED AT HIM TO SAY, YOU KNOW,
"SHOULD I CHOOSE WINDOW OR AISLE ON MY WAY HOME
OR AM I STICKING AROUND?"
AND HE WAS ALREADY LOOKING AT SOMEBODY ELSE,
GETTING, YOU KNOW, READY TO JUST, YOU KNOW, DO ANOTHER TAKE,
OR DO SOMETHING, AND THERE WAS NEVER A COMMENT AT ALL.
TO THIS DAY, I'VE NEVER HEARD HIM MAKE
A SPECIFIC COMMENT ABOUT THE CHARACTER THAT I PLAYED.
BUT WHEN IT COMES TO DIRECTING AN ACTOR,
IT'S A BARE-BONES CLARITY THAT ANY PERSONALITY
CAN UNDERSTAND AND INTERPRET.
I CAN'T WRITE ALL NIGHT
AND THEN DRIVE IN THE DAYTIME!
YOU KNOW, I FELL ASLEEP AT THE WHEEL.
OH, GOD. WELL, ARE YOU OKAY?
DID ANYONE GET HURT?
LOOK, I NEED TIME TO WORK ON MY BOOK.
WHEN ARE YOU GOING TO FINISH THAT BOOK?
LIKE THAT?
Y-YES, PHYSICALLY LIKE THAT,
BUT WHAT'S MISSING FROM IT IS
THE ARGUMENTATION.
Watts: I THINK I'VE COME TO REALIZE THAT HE IS
THE BEST ACTOR'S DIRECTOR I'VE EVER WORKED WITH,
AND I'VE WORKED WITH SOME REALLY GOOD ONES,
SO I SAY THAT
AFTER A LOT OF THOUGHT.
AND SO, WHILE HE'S GIVING US A LOT OF FREE REIN,
HE'S STILL GOING FOR SOMETHING VERY SPECIFIC,
THE WAY HE'S OFFERING THESE SUGGESTIONS ALL THE TIME,
BUT THEN SORT OF BACKTRACKING AND SAYING,
"BUT WE DON'T HAVE TO," AND, YOU KNOW,
"IF YOU DON'T FEEL COMFORTABLE WITH IT,
THEN FORGET I EVER SAID IT,"
SO IT CAN JUST BE REAL LIFE.
I MEAN, HOW MANY TIMES CAN YOU WRITE
AND TEAR UP AND REWRITE THESE CHAPTERS?!
IT'S LIKE YOU'RE SCARED TO FINISH.
OKAY, YOU KNOW WHAT? YOU'RE RIGHT.
I'M GUN-SHY, I CAN'T HANDLE IT,
IF IT'S CONFIRMED, YET AGAIN,
THAT ALL THOSE NICE THINGS PREDICTED ABOUT ME WERE WRONG.
THAT I WAS, WHAT, A FLASH IN THE PAN?
WELL, STALLING IS NOT THE ANSWER.
ALL MY FRIENDS HAVE FAMILY!
CAN I DO THAT?
YEAH, SURE, YEAH.
SORRY, I DIDN'T MEAN TO SCARE YOU.
WARN ME.
AND YOU SHUT THE DOOR
BECAUSE WE'RE GOING TO CUT IN HERE.
I'M ANYTHING BUT COMFORTABLE ON THIS SET, FOR SURE.
I'VE SPENT A WEEK AND A HALF HERE GETTING READY TO START
AND IT'S BEEN THE MOST TORTUROUS WEEK AND A HALF OF MY LIFE
BECAUSE HE'S ONE OF THESE GUYS THAT YOU WANT TO PLEASE,
YOU KNOW, YOU REALLY WANT TO PLEASE HIM.
IT'S LIKE GOING BACK TO, YOU KNOW, ACTING SCHOOL,
YOU KNOW? I FEEL LIKE I KNOW NOTHING
AND I JUST WANT TO PLEASE THIS GUY'S VISION.
AND SHE'S SIPPING HER DRINK, CHATTING.
Brolin: RIGHT HERE. AND I'M --
YOU'RE IN HERE WITH HER.
"WHY?" YOU ASK.
UH-HUH.
NO, I DIDN'T ASK WHY, I JUST ASKED WHERE.
I MEAN, "WHY?" IS ALWAYS THE QUESTION,
WHY WE DO HAVE TO BE ALONE TOGETHER?
THAT I CAN NEVER FIND THE ANSWER TO.
WHAT COULD YOU DO IN HERE?
JUST BE UNCOMFORTABLE.
OKAY.
YOU KNOW, IF THEY SAY TO ME,
"WOULD YOU LIKE ME TO DO IT THIS WAY?"
OR "WAS I TOO MEAN IN THAT?"
YOU KNOW, I CAN'T JUST STARE BACK AT THEM AND NOT ANSWER,
SO I HAVE TO SAY "YES" OR "NO."
YOU DO GET ACTORS THAT WANT A LITTLE FEEDBACK
AND THEY DO ASK QUESTIONS
AND I GIVE THEM A SHORT ANSWER,
A SHORT, FLATTERING ANSWER -- "OH, YOU WERE GREAT,"
YOU KNOW, "DO EXACTLY WHAT YOU'RE DOING,"
OR SOMETHING, AND THEY'RE FINE.
DO IT THAT WAY AND LET'S SEE.
THIS WAS QUITE GOOD.
NOW, IF YOU'RE TELLING ME YOU CAN BE
EVEN MORE NATURAL, FINE, THAT NEVER HURTS ANYTHING,
BUT THIS WAS NOT --
IF YOU SAW THIS, YOU WOULDN'T THINK,
"OH, IT'S NOT AUTHENTIC" OR "IT'S ARTIFICIAL."
RIGHT. WELL, THAT'S WHAT I DON'T WANT, BY ANY MEANS.
IT LOOKS PERFECTLY NATURAL.
Brolin: I ASK HIM A LOT OF QUESTIONS.
HE SAYS, "DON'T WORRY ABOUT IT. GET A GOOD NIGHT'S SLEEP.
I'LL SEE YOU TOMORROW," YOU KNOW, "LEARN YOUR LINES
AND I'LL POINT YOU IN THE RIGHT DIRECTION AND YOU'LL BE FINE."
HE DOESN'T REALLY GO INTO MOTIVATION OR,
LIKE, ACTING STUFF, LIKE,
YOU KNOW, "WHAT'S THE BACK HISTORY, WHAT'S THE STORY?"
HE DOESN'T REALLY GO INTO ANY OF THAT.
I THINK -- I'M NOT SURE --
I THINK HE ONCE GAVE A STANDARD DIRECTION,
"DO IT FASTER."
SOME OF THE DIRECTIONS WOULD BE LIKE, YOU KNOW,
"WHAT YOU'RE DOING IS VERY GOOD BUT, YOU KNOW,
THERE'S A KNICKS GAME AND... SPEED IT UP."
I DON'T HAVE A LOT OF PATIENCE, IN LIFE, OR IN GENERAL,
SO, YOU KNOW, I DON'T HAVE THE PATIENCE TO DO ANOTHER TAKE.
IF I'VE GOTTEN WHAT I WANT,
THEN I WANT TO MOVE ON, FINISH, AND GO HOME.
I DON'T HAVE THE CONCENTRATION OR THE DEDICATION
THAT YOU REALLY NEED TO BE A GREAT ARTIST.
I'D RATHER BE HOME, WATCHING THE BALLGAME.
THE THING ABOUT WOODY, AS A DIRECTOR,
WAS "JUST GO, BE THERE AND DO WHATEVER YOU WANT
AND MESS UP THE LINES AND TURN YOUR BACK TO THE CAMERA
AND LET'S GRAB IT HERE AND LETS GO."
YOU GOT TO GO BACK TO YOUR SHRINK.
I WANT YOU TO SEE DR. BALLARD AGAIN.
LARRY, I WENT FOR TWO YEARS!
YEAH, I KNOW, BUT YOU KNOW HOW
GENERAL MOTORS WILL RECALL DEFECTIVE CARS?
YOU GOT TO GO IN FOR A TUNEUP.
LARRY, WE'LL BE IN AND OUT IN FIVE MINUTES, HONEY.
NO, NO, I'M TELLING YOU!
I'M YOUR HUSBAND. I COMMAND YOU TO SLEEP!
WELL, I -- SLEEP!
NO! I COMMAND IT! I COMMAND IT!
IT WAS SO EASY.
IT WAS SO SIMPLE AND RELAXED AND FUN
AND NO PRESSURE AND NOBODY EXPECTED ANYTHING
AND I'VE NEVER WORKED WITH ANYBODY LIKE THAT, EVER.
Feeney: IT'S INTERESTING, BECAUSE OF THE AUTEUR THEORY,
THERE WERE A LOT OF FILMMAKERS WHO FELT,
"NO, I HAVE TO MAKE A GREAT FILM."
PEOPLE FELT OBLIGED TO TOP THEMSELVES.
WOODY ALLEN HAS NEVER FELT OBLIGED TO TOP HIMSELF.
HE'S FELT OBLIGED TO DO WHATEVER INTERESTS HIM MOST,
TO GO THERE WITH A FULL COMMITMENT,
BUT WHEN HE'S DONE, HE MOVES ON,
AND HE JUST -- HE MOVES RIGHT INTO THE NEXT THING.
IN THE LATE '90s AND THEN INTO THE TURN OF THE NEXT CENTURY,
SOME PEOPLE WERE STARTING TO WRITE HIM OFF,
SAYING THAT HE WAS PLAYED OUT.
THERE'S A PERIOD THAT COMES AFTER "DECONSTRUCTING HARRY"
WHERE I JUST HAD TO THINK OF IT AS WOODY ADRIFT,
BECAUSE HE WAS MAKING A FILM A YEAR.
THEY WERE COMING OUT STEADILY,
BUT THERE WAS SOMETHING THAT WAS OFF IN FILM AFTER FILM.
YOU KNOW, AND THERE WOULD ALWAYS BE SOMETHING THAT WAS ON
IN FILM AFTER FILM AT THE SAME TIME.
BUT YOU'D SEE AND YOU'D GO INTO EACH NEW WOODY ALLEN FILM
AND HOPE, 'CAUSE YOU NEVER DO KNOW.
I SUGGESTED ONCE TO HIM,
"WHAT IF YOU WERE ONLY MAKING ONE FILM EVERY TWO YEARS?
"WOULDN'T THAT BE MORE OF AN EVENT?
"WOULDN'T PEOPLE JUST FEEL LIKE
THERE WAS SOMETHING SPECIAL ABOUT IT?"
AND HE SAID, "NO, THAT MAKES NO SENSE AT ALL."
HE JUST HAS TO BE OUT THERE MAKING FILMS.
I'VE BEEN WORKING ON THE QUANTITY THEORY.
I FEEL IF I KEEP MAKING FILMS AND JUST KEEP MAKING THEM,
EVERY ONCE IN A WHILE, I'LL GET LUCKY
AND ONE WILL COME OUT, AND THAT'S EXACTLY WHAT HAPPENS.
I JUST WILL NEVER FORGET, YOU KNOW,
AFTER "CURSE OF THE JADE SCORPION,"
AFTER "ANYTHING ELSE,"
AFTER ALL THOSE FILMS THAT SEEMED TO WANDER...
IN A THEATER, SEEING A MOVIE.
OKAY, HERE'S A COMING ATTRACTION
FOR A FILM THAT'S SET IN BRITAIN.
IT'S A THRILLER,
AND IT LOOKS REALLY INTENSE, AND IT'S GOT A GOOD CAST.
PEOPLE ARE NUDGING, "HEY, LET'S SEE THIS."
Man: SO YOU'RE THREATENING ME?
IF I DON'T DO WHAT YOU SAY, YOU'RE GOING TO GO TO MY WIFE.
HELLO?
WHO KEEPS CALLING?
YOU LIED TO ME.
YOU'RE A LIAR!
YOU CAN LEARN TO PUSH THE GUILT UNDER THE RUG AND GO ON.
OTHERWISE, IT OVERWHELMS YOU.
Feeney: AND THEN, SUDDENLY, BOOM --
"WRITTEN AND DIRECTED BY WOODY ALLEN."
"MATCH POINT." HELLO, WHAT'S THIS?
I GREW UP ON WOODY ALLEN MOVIES,
SO, FOR ME, WORKING WITH WOODY WAS ALWAYS --
THAT WAS LIKE, YOU MADE IT.
YOU HAVE TO LEAN IN
AND HIT THROUGH THE BALL.
I WAS DOING JUST FINE UNTIL YOU SHOWED UP.
AH, THE STORY OF MY LIFE.
SO TELL ME,
WHAT'S A BEAUTIFUL YOUNG AMERICAN PING PONG PLAYER
DOING MINGLING AMONGST THE BRITISH UPPER CLASS?
DID ANYONE EVER TELL YOU
YOU PLAY A VERY AGGRESSIVE GAME?
DID ANYONE EVER TELL YOU YOU HAVE VERY SENSUAL LIPS?
EXTREMELY AGGRESSIVE.